Tag Archives: Jon Auer

The Posies: Blood/Candy

Another 2010 Bridesmaid…very good, but missed the Top 25…

The Posies have been around so long and have broken up and reformed so often that it’s probably bad form to call Blood/Candy a comeback album. Isn’t that what we were supposed to call Every Kind of Light? But with their solo and Big Star efforts now put aside, Ken Stringfellow and Jon Auer decided to revisit their oldest muse – each other – and reanimate a collaboration that has served them since they were teenagers. Camping out in the studio to live and breathe the music, the core of Blood/Candy was created in ten days and then tinkered with via various studios, diverse instrumentation and vocal collaborators (Kay Hanley, Hugh Cornwell).

The results, although not quite derivative, are that many of the songs have a familiarity that can’t be avoided when a band’s songwriters have such widespread collaborations. The structure of the fragmented “Licenses To Hide”, oddly enough, sounds like a Billy Joel epic from The Stranger, albeit sung by angels. And while it is not a well-known song, those who know The Odds’ “Love of Minds” will do a spit-take upon hearing the refrain and rhythm of “Cleopatra Street”.

Video: “For The Ashes

“For The Ashes” lets them frame the verses in Crosby/Nash harmonies before morphing into spacey falsettos, just as “Accidental Architecture” uses those same vocal icons to launch a wordy, jazzy melody into an infectious chorus. And staying on Nash point, the boys had to be listening to old Hollies records before penning the album’s best hook in “She’s Coming Down Again”. Likewise, Beach Boys fans will no doubt be struck by the vocal coda of “Enewetak”.

The songwriting is strong, and as one would expect, the vocals and harmonies are exquisite; both Stringfellow and Auer are in top form. There will be those who still point at Dear 23 or Frosting On The Beater as the apex of their career, but slotting this one in close proximity would not be a mistake. Whether or not this is a cohesive effort from a newly focused band or a collection of tracks assembled for the occasional statement, Blood/Candy is – as the title suggests – a showcase for both their delicate fragility and their powerful pop presence.

***

This review was originally printed in Bucketful of Brains.

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Big Star For A Big Cause

 

(Thanks to my buddy Ray Paul for forwarding this info…)

Channeling Chilton

The City Winery in New York City is presenting a night of remembrance and celebration this Wednesday, July 28th, as former members of the Box Tops, Big Star, plus Alex’s longtime friends and other collaborators come together to celebrate the man and the legend that is Alex Chilton.Part proceeds of the evening will benefit families and businesses affected by the Deepwater Horizon Disaster through the Gulf Restoration Network.

Artists so far confirmed include:  Yo La Tengo, Marshall Crenshaw, Jody Stephens, Jon Auer, Doug Garrison, Rene Coman, Alan Vega, Jon Spencer (of the Blues Explosion), Fran Kowalski, Chris Stamey, Lesa Aldridge (Elizabeth Hoehn), Jay Proctor (of Jay & the Techniques), Bill Cunningham, Gary Talley, Terry Manning, Evan Dando, Jesse Malin, Danny Kroha (of The Gories).

Check the City Winery website for updates as more artists are confirmed.

Take Me Home And Make Me Like It

December Boys got it bad. RIP, my friend.

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Two Out Of Three Ain’t Bad

 

Prediction-wise, that is. But not happy about it. 

I had a bad feeling that America was going to reject Laurie Kilmartin and James Adomian after last week’s set, and unfortunately those were the first two severed. When Jonathan Thymius and Maronzio Vance came out (what is it with finishing the eliminations with a duo?) I felt sure I was three-for-three even though if I were voting I would have sent Vance packing along with Rachel Feinstein and Felipe Esparza

But somehow, despite a strange and awkward set, Thymius survived. Did America really want to punish Vance for blowing his punch line last week? Because I don’t get how they can dig deep enough to enjoy Thymius’ surreal act yet not see the charm in Adomian’s equally obtuse direction. And god knows what will happen next week, because Thymius had an even stranger set with a really weak close…although he did slip a teabagging reference past the censors. 

Teabagging the toilet water?

I do not understand the fascination with Rachel Feinstein as a stand-up comic. She’s very attractive and leggy and is comfortable on stage and does great voices…but there are no jokes! I agree with some bloggers who suggest a career in voice-over work; she could be a versatile player in the animated world as long as someone else is writing the material. All she did last night was another extended ethnic rant

Myq Kaplan continued to riff strong material (although familiar to anyone who has his album) and once again he tagged a prior comic’s set to good results. And Tommy Johnagin continues to kill, peppering punch lines and adding that little bit extra, like pointing out his sweat stain and mocking the judges. I thought Mike DeStefano was more miss than hit this time around, although the “does it clean shame” line was solid. 

Roy Wood Jr. continues to be consistently good – never great – but always enough to get a few laughs. And while I’m not a Felipe Esparza fan, this was probably his best set; the crowd loves him. I’m starting to believe that it’s going to come down to the ethnic comic and the comic who can’t avoid ethnic schtick. That would be sad, but we are talking about a show that crowned Dat Phan as the funniest comedian. 

The best parts of the show continue to be Craig Robinson’s one-liners coming in or out of commercials. The judges are back, but why? They don’t criticize anyone – everyone is great and their sets are solid? It’s insulting to watch. I enjoy Greg Giraldo’s quips and Andy Kindler is reason enough to watch the show. And I’ve seen Natasha Leggero be funny, but it’s yet to happen on this program. But the bigger issue is that America is voting and they aren’t judging anything anymore – so why the pretense? 

Not certain how many go home next week but I predict the next two voted home are Thymius and Kaplan. Sadly, America will get what it deserves

— 

"Sitting in the back of a car..."

R.I.P. bass player Andy Hummel, leaving only drummer Jody Stephens with us from the late great Big Star (no, I don’t count Jon Auer and Ken Stringfellow). I don’t really have to make any special effort to pull a Big Star album out of the racks as they’ve been in rotation for…oh, almost forty years

Hummel had been battling cancer for the last two years. My friend (and Not Lame honcho) Bruce Brodeen posted that he had seen Andy at SXSW in March, where despite his illness he flew in from halfway across the world to participate in the tribute. Bruce said his playing was “a blessing“, and I guess if you’re going to strap in for a last gig that would not be a bad one to go out on. 

Blurt and EW announcements.

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T.G.I.F. – Ten Chilton Classics

Not in sales, no - but in impact? Oh, yes.

“Thinking ’bout what to say / and I can’t find the lines…”   

Alex Chilton died the other day, and so did a piece of me. I first heard Alex when his booming gravel voice launched out of my transistor radio with “The Letter”, the brilliant Box Tops single that didn’t waste a second of it’s not quite two minutes. I was still buying singles then, and follow-ups like “Cry Like A Baby” and “Soul Deep” made it all the way from Memphis to my ears. 

From The Box Tops to Big Star

But most singles bands from the 60s had their moment and hit the wall when music turned towards FM radio and longer, more sophisticated album cuts. And although I was getting into progressive rock and glam and the beginnings of heavy metal with Black Sabbath, I retained my passion for short sharp pop songs. I wouldn’t realize until years later that the Box Tops weren’t a group of friends hanging out and writing songs like The Beatles and The Rolling Stones were, but rather they were a staunchly controlled vehicle for a group of writers and producers and that a disillusioned sixteen year old was in fact that singer who sounded like he had already lived a hard life. I was half right. 

Thanks to someone’s insight in a rock magazine – I’ll wager that it was Creem – I was tipped that this new band was aces and I was able to grab a copy of the first Big Star album called #1 Record. What an audacious title, I thought, but dropping the needle on that album was an electrifying experience. Here was an album of impeccable chestnuts, from the rocking “Don’t Lie To Me” and “In The Street” to the sweet and fragile “Try Again” and  “Give Me Another Chance” (and when that crescendo of angelic vocals comes crashing in…oh, my God!). The fist fight between the tambourine and ringing guitar chords in “When My Baby’s Beside Me”. And that dagger-through-the-heart, “Thirteen”, which dripped with teenage angst. 

December Boys got it bad

The second album, sans Chris Bell, was almost as good, a little sloppier and esoteric with absolute standouts like “Back of A Car”, “September Gurls” and “O My Soul”. Meanwhile “What’s Going Ahn” and “Daisy Glaze” and “Morpha Too” hinted at the fragility that was to come in Third / Sister Lovers. Despite some genuinely upbeat sounding moments in “Thank You Friends” and “Jesus Christ”, it was painful to listen to “Holocaust” and “Big Black Car”, almost the soundtrack of a man falling apart. 

A perfect album title; he could have used it twice.

The post-Big Star years were a mixed bag; there were moments of pure joy and fun and others of witnessing painfully inept performances. I remember being in a club with my friend Bill waiting for a band to come onstage, and the most horrific atonal version of “The Letter” came over the sound system. As we cringed, the bartender informed us that it was a tape of a recent Alex Chilton performance; I remember thinking that he sounded like he would die mid-set. 

But in the coming years he regrouped and rebounded, issuing some solid EPs before getting talked into reforming Big Star with Jody Stephens and a pair of Posies in Ken Stringfellow and Jon Auer. When The Replacements blasted out the dynamic single “Alex Chilton” the legend was reborn; more indie bands started to admit the influence and at long last Chilton was getting the popular response to match the critical hurrahs. 

 

But Alex took it full circle and reunited The Box Tops, for as esoteric and varied as his playlists had been over the years – from soul to powerpop to MOR standards – the New Orleans via Memphis vibe never left. He seemed to enjoy the Box Tops shows more than the Big Star ones, and perhaps that’s why their reunion album In Space was a disappointment – his heart wasn’t in it anymore. 

But his soul and his heart and his pen and his voice came together often enough to leave behind an incredible legacy. So here are ten tunes that are a huge part of my life, songs that hit me like a ton of bricks or dovetailed with the emotions I was going through when I first heard them. They are fresh and timeless and will resonate with me no matter how old I am. I’m in love…with that song. 

And now the show for SXSW will go on as a tribute.

Icewater

 * September Gurls. December boys got it bad, I know, Alex, I know. Me too. 

* Cry Like A Baby. “Today we passed on the street/and you just walked on by/my heart just fell to my feet…” 

* The Ballad of El Goodo. “I’ve been trying hard against unbelievable odds” 

* Take Me Home and Make Me Like It. Is that the best pick up line ever? Hilarious and sloppy. 

* Soul Deep. Pop Soul Perfection. Neil Diamond shat himself when he heard this. 

* I’m In Love With A Girl. I can’t help but smile every time I hear this simple, fragile love song. There’s so much angst and pain in Alex’s catalogue; this is a nice exception. 

* No Sex. More for the fact that the EP signaled his return than the song itself. 

* Back of a Car. Thinking about what to say, and I can’t find the lines

* The Letter. The two minutes that started it all. 

* Thirteen Maybe the most poignant song about fumbling adolescence ever written. This one went through my heart like a spear, even though I was eighteen when I heard it. 

Rest In Peace, Alex.

All Music Guide tribute from Steven Thomas Erlewine 

Memphis Commercial Appeal says goodbye 

Some thoughts from pop critic Mike Bennett

Alex Chilton wiki with links to multiple discographies

The tribute at Popdose

Auditeer and music columnist John Micek remembers

Ed Ward from NPR chimes in

Anthony Lombardi talked to John Fry about Alex.

Others pay tribute from SXSW.

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September, Gurls!

I Wanna witness...I wanna testify.

I wanna witness...I wanna testify.

We all know the joke…if  everyone who claimed to be a Big Star fan during their original run actually bought an album, they would have literally been big stars and not a cult band that has repeatedly risen from the ashes. Fortunately the bands who now claim them as an influence aren’t just trying to sound cool; the release of their material in digital form has allowed another generation and then some to see what all the fuss was about.

I believe I can thank Creem Magazine for tipping me back in the day, although the 70s is one of my foggydecades. I was as much into prog, glam, hard rock and twang as the next impressionable youth, and it was as likely that I was spacing out to an entire side of Close To The Edge as I was insisting to anyone who would listen that The Faces and The Kinks were way better than Wings would ever be, Macca be damned. But when albums like Something/Anything and #1 Record came along, these were eye-opening moments to musical genius that stood out from the pack.

I loved the Box Tops and could not believe that the same guttural voice behind “The Letter” and “Cry Like A Baby” was now warbling the fragile “Thirteen”, but how many Alex Chiltons could there be? I still argue (politely) with others whether the debut was better than the follow-up Radio City, but I’ve always held both in higher esteem than Third/Sister Lovers (which sounded like the historical documentation of a nervous breakdown). But like all fast burning candles, Big Star was soon gone and relegated to “you should have been there” status until the rediscovery and rebirth many years later. And now this, the public validation, in the form of a (long overdue) box set.

Whether or not this will awaken a new group of fans is up for debate, but at least Rhino is smart enough not to alienate those among us who already own pretty much everything available. Keep an Eye on the Sky is thankfully loaded with live cuts, outtakes and sidebars from related projects like Icewater and Rock City. There’s certain to be a boatload of great information in the liner notes as Jody Stephens is deeply involved with the project; he’ll bring both the band’s perspective as well as a good look at Ardent Records and the Memphis scene.

Of course, Big Star still exists in the 21st century. There was a new record (the disappointingly uneven In Space) and the band even plays occasionally with  Stephens and Chilton now backed by Posies Ken Stringfellow and Jon Auer. But the current configuration will never capture the juxtaposition of innocence and magic that happened the first time around. But in fairness, what band can?

Whether you are new to the band or a lifelong fan excitedly awaiting the rarities, this box set is certain to be a classic retrospective. Rhino will release Keep An Eye On The Sky on September 15th as well as an expanded edition of Chris Bell’s solo album I Am The Cosmos. Here’s the complete track list for the skeptical, or those too lazy to link to Rhino! (But do follow that link to hear one of the previously unreleased songs.)

Tracklist:

Disc 1
1. Chris Bell: “Psychedelic Stuff”
2. Icewater: “All I See Is You”
3. Alex Chilton: “Every Day as We Grow Closer” (Original Mix)
4. Rock City: “Try Again” (Early Version)
5. Rock City: “The Preacher”
6. Feel
7. The Ballad of El Goodo (Alternate Mix) *
8. In the Street
9. Thirteen (Alternate Mix) *
10. The India Song
11. When My Baby’s Beside Me (Alternate Mix) *
12. My Life Is Right (Alternate Mix) *
13. Give Me Another Chance (Alternate Mix) *
14. Try Again
15. Chris Bell: “Gone With the Light” *
16. Watch the Sunrise
17. ST 100/6 (Alternate Mix) *
18. In the Street (Second Recorded Version)
19. Feel (Early Mix) *
20. The Ballad of El Goodo (Alternate Lyrics)
21. The India Song (Alternate Version) *
22. Country Morn
23. I Got Kinda Lost (Demo)
24. Motel Blues (Demo) *

Disc 2
1. There Was a Light (Demo) *
2. Life Is White (Demo) *
3. What’s Going Ahn (Demo) *
4. O My Soul
5. Life Is White
6. Way Out West (Alternate Mix) *
7. What’s Going Ahn
8. You Get What You Deserve (Alternate Mix) *
9. Mod Lang (Alternate Mix)
10. Back of a Car (Alternate Mix) *
11. Daisy Glaze
12. She’s A Mover
13. September Gurls
14. Morpha Too (Alternate Mix) *
15. I’m in Love With a Girl
16. O My Soul (Alternate Version) *
17. Back of a Car (Demo)
18. Daisy Glaze (Alternate Take) *
19. She’s a Mover (Alternate Version)
20. Chris Bell: “I Am the Cosmos”
21. Chris Bell: “You and Your Sister”
22. Alex Chilton: “Blue Moon” (Demo) *
23. Alex Chilton: “Femme Fatale” (Demo) *
24. Alex Chilton: Thank You Friends” (Demo) *
25. Alex Chilton: “You Get What You Deserve” (Demo) *

Disc 3
1. Alex Chilton: “Lovely Day (aka Stroke It Noel)” (Demo)
2. Alex Chilton: “Downs” (Demo)
3. Alex Chilton: “Nightime” (Demo) *
4. Alex Chilton: “Jesus Christ” (Demo) *
5. Alex Chilton: “Holocaust” (Demo) *
6. Alex Chilton: “Take Care” (Demo) *
7. Alex Chilton: “Big Black Car” (Alternate Demo) *
8. Manana *
9. Jesus Christ
10. Femme Fatale
11. O, Dana
12. Kizza Me
14. You Can’t Have Me
15. Nightime
16. Dream Lover
17. Blue Moon
18. Take Care
19. Stroke It Noel
20. For You
21. Downs
22. Whole Lotta Shakin’ Goin’ On
23. Big Black Car
24. Holocaust
25. Kanga Roo
26. Thank You Friends
27. Till The End of the Day
28. Lovely Day *
29. Nature Boy

Disc 4 (Live at Lafayette’s Music Room, Memphis, Tenn.)
1. When My Baby’s Beside Me *
2. My Life Is Right *
3. She’s a Mover *
4. Way Out West *
5. The Ballad of El Goodo *
6. In the Street *
7. Back of a Car *
8. Thirteen *
9. The India Song *
10. Try Again *
11. Watch the Sunrise *
12. Don’t Lie to Me *
13. Hot Burrito #2 *
14. I Got Kinda Lost *
15. Baby Strange *
16. Slut *
17. There Was a Light *
18. ST 100/6 *
19. Come On Now *
20. O My Soul *

* previously unreleased

They'll get what they deserve

You get what you deserve

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